"Portrait of Catherine Grey, Lady Manners", Thomas Lawrence NFT on XRPL
"Portrait of Catherine Grey, Lady Manners", Thomas Lawrence
Collection: Cleveland Originals
The Irish poet Lady Manners rejected as “unflattering” this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label “to be disposed of [sold],” but it was still in the artist’s collection when he died. Though it offended Lady Manners, the painting displays all the hallmarks of Lawrence’s flamboyant style:dazzling, fluid brushwork and an innovative use of unconventional colors that helped secure his role as the most fashionable portrait painter in turn-of-the-century Britain."fun_fact": "Catherine was an Irish poet who wrote of longing to escape the fashionable world." Artist Bio: Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) was an English portrait painter and the fourth president of the Royal Academy. A child prodigy, he was born in Bristol and began drawing in Devizes, where his father was an innkeeper at the Bear Hotel in the Market Square. At age ten, having moved to Bath, he was supporting his family with his pastel portraits. At 18, he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1789. He stayed at the top of his profession until his death, aged 60, in 1830. Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a full member in 1794, and president in 1820. In 1810, he acquired the generous patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo Chamber at Windsor Castle, and is particularly remembered as the Romantic portraitist of the Regency. Lawrence's love affairs were not happy (his tortuous relationships with Sally and Maria Siddons were the subjects of several books) and, in spite of his success, he spent most of life deep in debt and never married. At his death, he was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has since been partially restored. Childhood and Early Career Lawrence was born at 6 Redcross Street, Bristol, the youngest surviving child of Thomas Lawrence, a supervisor of excise, and Lucy Read, a clergyman's daughter. They had 16 children, but only five survived infancy: Lawrence's brother Andrew became a clergyman; William had a career in the army; and sisters Lucy and Anne married a solicitor and a clergyman. Soon after Thomas was born, his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in Broad Street, Bristol. But the venture did not prosper, and in 1773 Lawrence senior removed his family from Bristol and took over the tenancy of the Black Bear Inn in Devizes, a favourite stopping place for the London gentry making their annual trip to take the waters at Bath. Lawrence's formal schooling was limited to two years at The Fort, a school in Bristol, when he was six to eight; and a little tuition in French and Latin from a dissenting minister. He also became accomplished in dancing, fencing, boxing, and billiards. By age ten, his fame had spread sufficiently for him to receive a mention in Daines Barrington's Miscellanies as "without the most distant instruction from anyone, capable of copying historical pictures in a masterly style". But once again Lawrence senior failed as a landlord; in 1779, he was declared bankrupt, and the family moved to Bath. From this point on, Lawrence supported his parents with his portrait work. The family settled at 2 Alfred Street in Bath, and the young Lawrence established himself as a portraitist in pastels. His oval portraits, for which he was soon charging three guineas, were about 12 inches by 10 inches (30 by 25 centimeters), and usually portrayed a half-length. His sitters included the Duchess of Devonshire, Sarah Siddons, Sir Henry Harpur (of Calke Abbey, Derbyshire, who offered to send Lawrence to Italy, but Lawrence senior refused to part with his son), Warren Hastings, and Sir Elijah Impey. Talented, charming, and attractive (and surprisingly modest), Lawrence was popular with Bath residents and visitors. Rise to Prominence Sometime before his eighteenth birthday in 1787, Lawrence arrived in London, taking lodgings in Leicester Square, near Joshua Reynolds' studio. He was introduced to Reynolds, who advised him to study nature rather than the Old Masters. Lawrence set up a studio at 41 Jermyn Street and installed his parents in a house in Greek Street. He exhibited several works in the 1787 Royal Academy exhibition at Somerset House and enrolled as a student at the Royal Academy but did not stay long, abandoning the drawing of classical statues to concentrate on his portraiture. At the Royal Academy exhibition of 1788, he was represented by five portraits in pastels and one in oils, a medium he quickly mastered. Between 1787 and his death in 1830, he missed only two of the annual exhibitions: in 1809, protesting how his paintings had been displayed; and in 1819, because he was abroad. In 1789, he exhibited 13 portraits, mostly in oil, including one of William Linley and one of Lady Cremorne, his first attempt at a full-length portrait. They received favorable comments in the press, with one critic referring to him as "the Sir Joshua of futurity not far off". Aged just 20, Lawrence received his first royal commission, a summons arriving from Windsor Palace to paint the portraits of Queen Charlotte and Princess Amelia. Later Years and Legacy By the time the Prince of Wales was made regent in 1811, Lawrence was acknowledged as the country's foremost portrait painter. Through one of his sitters, Lord Charles Stewart, who he painted in Hussar uniform, he met the Prince Regent, who became his most important patron. As well as portraits of himself, the prince commissioned portraits of allied leaders the Duke of Wellington, Field-Marshal von Blücher, and Count Platov, who sat for Lawrence at his new house at 65 Russell Square. The prince also had plans for Lawrence to travel abroad and paint foreign royalty and leaders, and as a preliminary, he was given a knighthood on 22 April 1815. Eventually, in September 1818, Lawrence was able to make his postponed trip to the continent to paint the allied leaders, first at Aachen and then at the conference of Vienna, for what would become the Waterloo Chamber series, housed in Windsor Castle. His sitters included Tsar Alexander, Emperor Francis I of Austria, the King of Prussia, Field-Marshal Prince Schwarzenberg, Archduke Charles of Austria, and Henriette his wife, Lady Selina Caroline, wife of the Count of Clam-Martinic, and a young Napoleon II, as well as various French and Prussian ministers. In May 1819, still under orders from the Prince Regent, he left Vienna for Rome to paint Pope Pius VII and Cardinal Consalvi. Lawrence arrived back in London on 30 March 1820 to find that the president of the Royal Academy, Benjamin West, had died. That very evening, Lawrence was voted the new president, a position he would hold until his death 10 years later. George III had died in January; Lawrence was granted a place in the procession for the coronation of George IV. On 28 February 1822, he was elected as a Fellow of the Royal Society "for his eminence in art". Lawrence died suddenly on 7 January 1830, just months after his friend Isabella Wolff. A few days previously, he had experienced chest pains but had continued working and was eagerly anticipating a stay with his sister at Rugby when he collapsed and died during a visit from his friends Elizabeth Croft and Archibald Keightley. After a post-mortem examination, doctors concluded that the artist's death had been caused by ossification of the aorta and vessels of the heart. Lawrence was buried on 21 January in the crypt of St Paul's Cathedral. Amongst the mourners was J. M. W. Turner who painted a sketch of the funeral from memory. Lawrence's reputation as an artist fell during the Victorian era but has since been partially restored. He is acknowledged as one of the great painters of the last 250 years and one of the great stars of portraiture on a European stage.
Issuer: rLzncbwKysPuA9FvrocUKBZUbQGiBBPNk3
Taxon: 2
- technique : oil on canva
- culture : England, 18th century
- creation date : 1794
- artist: Thomas Lawrence
- px: 4704 x 7628
NFTokenID: 00081770DB35F371D4D6B9E351DA0CF20D4EBF5F49F78DB9F4211758042C1EBF
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Properties
Description
The Irish poet Lady Manners rejected as “unflattering” this portrait representing her as the goddess Juno, symbolized here by the peacock. Thomas Lawrence exhibited the painting at the Royal Academy in 1794 with the label “to be disposed of [sold],” but it was still in the artist’s collection when he died. Though it offended Lady Manners, the painting displays all the hallmarks of Lawrence’s flamboyant style:dazzling, fluid brushwork and an innovative use of unconventional colors that helped secure his role as the most fashionable portrait painter in turn-of-the-century Britain."fun_fact": "Catherine was an Irish poet who wrote of longing to escape the fashionable world." Artist Bio: Sir Thomas Lawrence PRA FRS (13 April 1769 – 7 January 1830) was an English portrait painter and the fourth president of the Royal Academy. A child prodigy, he was born in Bristol and began drawing in Devizes, where his father was an innkeeper at the Bear Hotel in the Market Square. At age ten, having moved to Bath, he was supporting his family with his pastel portraits. At 18, he went to London and soon established his reputation as a portrait painter in oils, receiving his first royal commission, a portrait of Queen Charlotte, in 1789. He stayed at the top of his profession until his death, aged 60, in 1830. Self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a full member in 1794, and president in 1820. In 1810, he acquired the generous patronage of the Prince Regent, was sent abroad to paint portraits of allied leaders for the Waterloo Chamber at Windsor Castle, and is particularly remembered as the Romantic portraitist of the Regency. Lawrence's love affairs were not happy (his tortuous relationships with Sally and Maria Siddons were the subjects of several books) and, in spite of his success, he spent most of life deep in debt and never married. At his death, he was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has since been partially restored. Childhood and Early Career Lawrence was born at 6 Redcross Street, Bristol, the youngest surviving child of Thomas Lawrence, a supervisor of excise, and Lucy Read, a clergyman's daughter. They had 16 children, but only five survived infancy: Lawrence's brother Andrew became a clergyman; William had a career in the army; and sisters Lucy and Anne married a solicitor and a clergyman. Soon after Thomas was born, his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in Broad Street, Bristol. But the venture did not prosper, and in 1773 Lawrence senior removed his family from Bristol and took over the tenancy of the Black Bear Inn in Devizes, a favourite stopping place for the London gentry making their annual trip to take the waters at Bath. Lawrence's formal schooling was limited to two years at The Fort, a school in Bristol, when he was six to eight; and a little tuition in French and Latin from a dissenting minister. He also became accomplished in dancing, fencing, boxing, and billiards. By age ten, his fame had spread sufficiently for him to receive a mention in Daines Barrington's Miscellanies as "without the most distant instruction from anyone, capable of copying historical pictures in a masterly style". But once again Lawrence senior failed as a landlord; in 1779, he was declared bankrupt, and the family moved to Bath. From this point on, Lawrence supported his parents with his portrait work. The family settled at 2 Alfred Street in Bath, and the young Lawrence established himself as a portraitist in pastels. His oval portraits, for which he was soon charging three guineas, were about 12 inches by 10 inches (30 by 25 centimeters), and usually portrayed a half-length. His sitters included the Duchess of Devonshire, Sarah Siddons, Sir Henry Harpur (of Calke Abbey, Derbyshire, who offered to send Lawrence to Italy, but Lawrence senior refused to part with his son), Warren Hastings, and Sir Elijah Impey. Talented, charming, and attractive (and surprisingly modest), Lawrence was popular with Bath residents and visitors. Rise to Prominence Sometime before his eighteenth birthday in 1787, Lawrence arrived in London, taking lodgings in Leicester Square, near Joshua Reynolds' studio. He was introduced to Reynolds, who advised him to study nature rather than the Old Masters. Lawrence set up a studio at 41 Jermyn Street and installed his parents in a house in Greek Street. He exhibited several works in the 1787 Royal Academy exhibition at Somerset House and enrolled as a student at the Royal Academy but did not stay long, abandoning the drawing of classical statues to concentrate on his portraiture. At the Royal Academy exhibition of 1788, he was represented by five portraits in pastels and one in oils, a medium he quickly mastered. Between 1787 and his death in 1830, he missed only two of the annual exhibitions: in 1809, protesting how his paintings had been displayed; and in 1819, because he was abroad. In 1789, he exhibited 13 portraits, mostly in oil, including one of William Linley and one of Lady Cremorne, his first attempt at a full-length portrait. They received favorable comments in the press, with one critic referring to him as "the Sir Joshua of futurity not far off". Aged just 20, Lawrence received his first royal commission, a summons arriving from Windsor Palace to paint the portraits of Queen Charlotte and Princess Amelia. Later Years and Legacy By the time the Prince of Wales was made regent in 1811, Lawrence was acknowledged as the country's foremost portrait painter. Through one of his sitters, Lord Charles Stewart, who he painted in Hussar uniform, he met the Prince Regent, who became his most important patron. As well as portraits of himself, the prince commissioned portraits of allied leaders the Duke of Wellington, Field-Marshal von Blücher, and Count Platov, who sat for Lawrence at his new house at 65 Russell Square. The prince also had plans for Lawrence to travel abroad and paint foreign royalty and leaders, and as a preliminary, he was given a knighthood on 22 April 1815. Eventually, in September 1818, Lawrence was able to make his postponed trip to the continent to paint the allied leaders, first at Aachen and then at the conference of Vienna, for what would become the Waterloo Chamber series, housed in Windsor Castle. His sitters included Tsar Alexander, Emperor Francis I of Austria, the King of Prussia, Field-Marshal Prince Schwarzenberg, Archduke Charles of Austria, and Henriette his wife, Lady Selina Caroline, wife of the Count of Clam-Martinic, and a young Napoleon II, as well as various French and Prussian ministers. In May 1819, still under orders from the Prince Regent, he left Vienna for Rome to paint Pope Pius VII and Cardinal Consalvi. Lawrence arrived back in London on 30 March 1820 to find that the president of the Royal Academy, Benjamin West, had died. That very evening, Lawrence was voted the new president, a position he would hold until his death 10 years later. George III had died in January; Lawrence was granted a place in the procession for the coronation of George IV. On 28 February 1822, he was elected as a Fellow of the Royal Society "for his eminence in art". Lawrence died suddenly on 7 January 1830, just months after his friend Isabella Wolff. A few days previously, he had experienced chest pains but had continued working and was eagerly anticipating a stay with his sister at Rugby when he collapsed and died during a visit from his friends Elizabeth Croft and Archibald Keightley. After a post-mortem examination, doctors concluded that the artist's death had been caused by ossification of the aorta and vessels of the heart. Lawrence was buried on 21 January in the crypt of St Paul's Cathedral. Amongst the mourners was J. M. W. Turner who painted a sketch of the funeral from memory. Lawrence's reputation as an artist fell during the Victorian era but has since been partially restored. He is acknowledged as one of the great painters of the last 250 years and one of the great stars of portraiture on a European stage.
"Portrait of Catherine Grey, Lady Manners", Thomas Lawrence
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